Octatrack MKII User Manual ENG OS1.40A

16. OCTATRACK MKII SETUP EXAMPLES 101 2. Assign a Scene to Scene A by pressing [SCENE A] + a [TRIG] key. Assign a Scene to Scene B by pressing [SCENE B] + a [TRIG] key. We assume scene 1 was assigned to Scene A and scene 2 to Scene B. 3. Open the MIXER menu by pressing [MIXER]. Make sure DIR for both AB and CD is set to 127. This will route the incoming sound to the Octatrack MKII main outputs at full volume. 4. Press and hold [SCENE A]. Note how the DIR parameters change to XDIR. While keeping [SCENE A] pressed, turn knob B so XDIR AB is set to MAX. Then turn knob E so XDIR CD says MIN. Release [SCENE A] and press and hold [SCENE B]. Turn knob B so XDIR AB is set to MIN. Then turn knob E so XDIR CD says MAX. When the crossfader is at its leftmost position only the audio from DJ deck 1 will be routed to the main outputs. When it is at its rightmost position only the audio from DJ deck 2 will be routed to the main outputs. Any other crossfader position will mix the audio from DJ deck 1 and 2. 5. Set the crossfader to its leftmost position and start playing a song on DJ deck 1. The audio will be heard from the Octatrack MKII main outputs. 6. When it is time to mix in a track from DJ deck 2, first press [CUE] + [REC2] to cue listen to DJ deck 2 using the headphones. Adjust the playback of DJ deck 2 so both decks play in sync. 7. Un-cue DJ deck 2 by pressing [CUE] + [REC2] and move the crossfader to its rightmost position. The Octatrack MKII will now mix between DJ deck 1 and 2. Turn track 8 into a master track to affect the incoming audio from the DJ decks with the master track effects. Don’t forget that it is possible to sample the DJ decks, even ones that are cued. 16.4.2 DJ MIXING USING THE THRU METHOD 1. Connect the first DJ deck to Octatrack MKII input pair AB. Connect the second DJ deck to input pair CD. 2. Open the MIXER menu by pressing [MIXER]. Make sure DIR for AB and CD is set to 0. This will make incoming sound available to only Thru machines. 3. Assign a Thru machine to track 1. Set INAB to A B. This will make the machine listen to input A/B, which is the input pair DJ deck 1 is connected to. Assign a Thru machine to track 5. Set INCD to C D. This will make the machine listen to input C/D, which is the input pair DJ deck 2 is connected to. Assigning Thru machines this way will make it easier to remember which DJ deck is connected to which track. 4. Assign a Scene to Scene A by pressing [SCENE A] + a [TRIG] key. Assign a Scene to Scene B by pressing [SCENE B] + a [TRIG] key. We assume scene 1 was assigned to Scene A and scene 2 to Scene B. 5. Select track 1 and press and hold [SCENE A]. Note how the LEV parameter changes to XLV. While keeping [SCENE A] pressed, turn the LEVEL knob so XLV is set to MAX. Release [SCENE A] and press and hold [SCENE B]. Turn the LEVEL knob so XLV is set to MIN. 6. Select track 5 and press and hold [SCENE A]. While keeping [SCENE A] pressed, turn the LEVEL knob so XLV is set to MIN. Release [SCENE A] and press and hold [SCENE B]. Turn the LEVEL knob so XLV is set to MAX. When the crossfader is at its leftmost position only the audio from DJ deck 1 will be routed to the main outputs. When it is at its rightmost position only the audio from DJ deck 2 will be routed to the main outputs. Any other crossfader position will mix the audio from DJ deck 1 and 2.

16. OCTATRACK MKII SETUP EXAMPLES 102 7. Select track 1. Place a trig on the first step of the sequencer. Do the same for track 5. Trigging the Thru machines is necessary for them to start passing through incoming audio. 8. Press [PLAY] to start playing the Octatrack MKII and trigging the Thru machines. Set the crossfader to its leftmost position and start playing a song on DJ deck 1. The audio will be heard from the Octatrack MKII main outputs. 9. When it is time to mix in a track from DJ deck 2, first press [CUE] + [TRACK 5] to cue listen to DJ deck 2 using the headphones. Adjust the playback of DJ deck 2 so both decks play in sync. 10.Un-cue DJ deck 2 by pressing [CUE] + [REC2] and move the crossfader to its rightmost position. The Octatrack MKII will now mix between DJ deck 1 and 2. Because Thru machines are used you can affect the DJ decks with track effects. For effects dependent on tempo, like the Echo Freeze Delay, tap the tempo of the Octatrack MKII so it is in sync with the DJ deck currently playing. Don’t forget that it is possible to sample the DJ decks, even the one that is cued. 16.5 OCTATRACK MKII AS A MIDI CONTROL CENTER The MIDI OUT of an external synthesizer is connected to the Octatrack MKII MIDI IN. The Octatrack MKII MIDI OUT is connected to the MIDI IN of the synthesizer. A synth module is connected to the MIDI THRU of the synthesizer. The Octatrack MKII can MIDI control both the synthesizer and the synth module. At the same time the keyboard of the synthesizer can be used to play Octatrack MKII samples, play the synthesizer itself as well as the synth module. 16.5.1 MIDI CONTROL USING CC DIRECT CONNECT AND THE AUTO CHANNEL By taking advantage of the CC DIRECT CONNECT feature, easier and more intuitive MIDI sequencing is possible. It allows the Octatrack MKII MIDI sequencer to live record and parameter lock knob CC values of the synthesizer by turning the knobs directly on the synth itself. 1. Set the synthesizer so it receives MIDI data on MIDI channel 1. The synth module should listen to MIDI channel 2. The knobs of the synthesizer should be able to transmit MIDI CCs and the synth keyboard should be able to transmit MIDI note on/off messages. All synthesizer MIDI messages should be sent on channel 16. The synthesizer should be set to local off. The channel assignments can of course be made differently and are only used in this tutorial as a suggested MIDI setup. 2. Open the PROJECT menu by pressing [PROJ]. Select CONTROL and MIDI SEQUENCER. Press [YES]. 3. Make sure CC DIRECT CONNECT is activated.

16. OCTATRACK MKII SETUP EXAMPLES 103 4. Exit the menu and open the PROJECT>MIDI>CHANNELS menu. Set the auto channel to 16. Now the active track, regardless if it is an audio or MIDI track, will always respond to messages sent on this channel. 5. Press [MIDI] to access the MIDI mode of the Octatrack MKII. 6. Select track 1 and either double-tap the [SRC] key or press [FUNC] + [SRC] to open the NOTE SETUP page. Turn knob A to set CHAN to 1. Press the knob to confirm the choice. MIDI track 1 now sends out data on MIDI channel 1. This track will control the synthesizer. 7. Repeat the procedure for MIDI track 2, but set the MIDI channel to 2. This track now controls the synth module. 8. Now it is time to set the CC messages that will be possible to record and lock by the Octatrack MKII MIDI sequencer. In this tutorial the filter cutoff parameter of the synthesizer will be set so it is recordable by turning the cutoff knob of the synthesizer directly. Select track 1 and open the CTRL 1 SETUP menu by either double-tapping [FX1] or pressing [FUNC] + [FX1]. 9. To avoid having to assign the CC value of the cutoff knob of the synthesizer manually, the MIDI learn functionality can be used. Press [FUNC] + knob C to initiate the MIDI learn function. 10.Turn the cutoff knob of the synthesizer. That CC value will automatically be assigned to the CC1 SETUP parameter. 11. For track 2, the cutoff CC value of the synth module needs to be assigned manually. Open the CTRL 1 SETUP menu of track two, look up the CC value for the cutoff knob in the synth module manual and assign this value to the CC1 SETUP parameter. 12.The Octatrack MKII can now sequence the two synths using the MIDI sequencer. When entering LIVE RECORDING mode, selecting track 1 and turning the cutoff knob of the synthesizer, the knob movements will be recorded by the Octatrack MKII MIDI sequencer. Parameter locks can also be applied in the same way. Press and hold a [TRIG] key, turn the cutoff knob of the synthesizer and the chosen value will be locked to the step. It is of course also possible to sequence the cutoff knob by turning the C knob when the CTRL 1 MAIN page is active. To control the cutoff parameter of the synth module, select MIDI track 2, make the CTRL 1 page active and turn the C knob. The keyboard of the synthesizer can now control both the audio tracks of the Octatrack MKII as well as play melodies on both the synthesizer itself and the synth module. To make the synthesizer play itself, simply make MIDI track 1 active. Use the keyboard to play the synthesizer module by selecting MIDI track 2. Incoming notes from the keyboard can be real time recorded on the MIDI tracks when in LIVE RECORDING mode.

17. OCTATRACK MKII TUTORIALS 104 17. OCTATRACK MKII TUTORIALS The Octatrack MKII is capable of many things. Here a few tutorials highlighting the most prominent features are presented. 17.1 TRACK RECORDER SAMPLING With the Octatrack MKII two main methods of track recorder sampling exist. Manual sampling is performed by manually pressing keys, while recorder trig sampling samples using recorder trigs. Sampling is performed by the track recorders, covered in section “9. TRACK RECORDERS AND PICKUP MACHINES” on page 44. 17.1.1 MANUAL SAMPLING Recording samples manually with the Octatrack MKII is a straight forward process. 1. If you are sampling from the external inputs, make sure audio from an external device is being sent to the Octatrack MKII inputs. The <REC> LEDs indicate the strength of the signal sent to the inputs. If you hear sound but see no LED activity, try increasing the volume of the external audio by either increasing the GAIN parameter in the MIXER menu or by increasing the volume on the external device itself. If you don’t hear any sound, make sure the DIR parameter in the MIXER menu is not set to zero. 2. Select the track whose recorder you want to use by pressing the relevant [TRACK] key. 3. If you want to make detailed source settings, open up the RECORDING SETUP 1 menu by pressing [FUNC] + [REC1]. Select from which source or sources the recorder should sample from by setting INAB, INCD and SRC3 as needed. If needed, adjust the RLEN and TRIG settings. This step is however not necessary to start sampling. 4. To sample from input A/B, press the [TRACK] + [REC1] keys. Depending on the INAB setting the recorder will sample from either input A, B, A/B or nothing at all. To sample from input C/D, press the [TRACK] + [REC2] keys. Depending on the INCD setting the recorder will sample from either input C, D, C/D or nothing at all. To sample internal sounds, press the [TRACK] + [REC3] keys. The recorder will, depending on the SRC3 setting, sample either the main output mix, the cue output mix, an audio track or nothing at all. In the RECORDING SETUP 2 menu, the FIN and FOUT parameters are found. By setting these parameters to their lowest values, a very short fade will be applied to the beginning and the end of the sample. This helps to avoid unwanted clicks and pops when the recorded sample loops. 17.1.2 SAMPLING USING RECORDER TRIGS The use of recorder trigs offers a considerably more powerful method of sampling. They offer automated sampling. To use recorder trigs when sampling, please follow these steps. 1. If you are sampling from the external inputs, make sure audio from an external device is being sent to the Octatrack MKII inputs. The <REC> LEDs indicate the strength of the signal sent to the inputs. If you hear sound but see no LED activity, try increasing the volume of the external audio by either increasing the GAIN parameter in the MIXER menu or by increasing the volume on the external device itself. If you don’t hear any sound, make sure the DIR parameter in the MIXER menu is not set to zero. 2. Select the track whose recorder you want to use by pressing the relevant [TRACK] key. 3. Open up the RECORD SETUP 1 menu by pressing [FUNC] + [REC1]. 4. Select from which source or sources the recorder should sample from by setting INAB, INCD and SRC3 as needed. If needed, make RLEN and TRIG settings.

17. OCTATRACK MKII TUTORIALS 105 5. Make sure GRID RECORDING mode is active. If not, press [RECORD] to activate it. Place out a recorder trig by pressing a [TRIG] key. Note that the sequencer while in the RECORD SETUP menus only reflects recorder trigs. A recorder trig defaults to sampling from all input sources. When in the RECORDING SETUP 1 menu, the source a recorder trig samples from can be seen by pressing the [TRIG] key of the recorder trig. The activated sources are indicated by inverted graphics in the screen and by lit <REC> leds and [MIDI] key. Deactivate a recording source by pressing [TRIG] + [REC1/2/3]. 6. Press [PLAY] to start the playback of the sequencer. Once a record trig has been trigged by the sequencer the track recorder will start to sample. Recorder trigs can be turned into one shot recorder trigs. They trig sampling only once, which can be very useful when for example sampling live and not wanting to have to remove a recorder trig once it has initiated sampling. One shot recorder trigs are entered by pressing [FUNC] + [TRIG] and are indicated by yellow [TRIG] keys. Read more about one shot recorder trigs in section “9.2.2 RECORDER TRIG SAMPLING” on page 48. 17.1.3 PLAYBACK OF CAPTURED RECORDER SAMPLES The samples captured by the track recorders are stored in the recorder buffers located in the Flex sample slot list. A sample located in a recorder buffer functions just like a Flex sample. 1. To assign a recorder buffer to a track, follow the instructions how to assign a sample to a machine covered in section “11.3 ASSIGNING FLEX AND STATIC SAMPLES TO MACHINES” on page 56. The eight recorder buffers are located above the first Flex sample in the Flex sample slot list. Press the [UP] arrow key to access them. 2. Any recorder buffer can be assigned to any track. To make it easier to remember the recorder buffer track assignments, we suggest to assign the recorder buffer to the track whose track recorder will be used. For example, if the track recorder 1 should be used, assign recorder buffer 1 to track 1. 17.1.4 PICKUP MACHINE SAMPLING Pickup machine sampling are conducted by using Pickup machines. These machines essentially work as looper devices, allowing for loop based jamming and experimentation. In this tutorial two Pickup machines will be used to a sample a synth connected to input AB. 1. Begin by assigning a Pickup machine to track 1. Double tap the [TRACK 1] key and select the Pickup machine option. 2. Assign a Pickup machine to track 2 as well. 3. Next, set up what - and how - the Pickup machines should sample. Select track 1 and press [FUNC] + [REC1] to open RECORDING SETUP MENU 1. 4. Set INAB to A B, INCD to -, RLEN to MAX, TRIG to ONE2, SRC3 to - and LOOP to ON. By eliminating audio inputs CD and the internal tracks as sampling sources, the risk for accidentally sampling the wrong source is reduced. 5. Press [FUNC] + [REC2] to open RECORDING SETUP MENU 2. Set FIN to 0.063 and FOUT to 0.063. This will add a very short fade in and out to the loop to be recorded, reducing the risk of experiencing clicks and pops when the sample loops. AB should be set to 127. This will enable direct monitoring of the input pair AB when the Pickup machine is active. QREC and QPL should be set to OFF. Press [NO] to exit the menu.

17. OCTATRACK MKII TUTORIALS 106 6. Select track 2 and make the exact same settings as above in both RECORDING SETUP menus. When done, press [NO] to exit. 7. Press [SRC] to open the SRC MAIN menu of the Pickup machine assigned to track 2. Set LEN to X2. This Pickup machine will record the slave loop, which now will be twice the length of the master loop. Make sure PTCH is set to 0, DIR to FWD, GAIN to 0 and OP to DUB. 8. Press the [TRACK 1] key to access the SRC MAIN menu of the Pickup machine assigned to track 1. Set PTCH to 0, DIR to FWD, GAIN to 0 and OP to DUB. As this Pickup machine will be used to capture the master loop, the LEN parameter fill no function and can thus be set to any value, preferably to OFF. 9. Play the synth. 10.Press [REC1] to start sampling with the Pickup machine of track 1. Press [REC2] to stop recording. The recorded sample will start to loop. Add overdubs by pressing [REC1], exit overdub mode by pressing [REC2]. If not satisfied with the loop, press [REC2] while in playback mode to stop the playback. Then initiate sampling again by pressing [REC1]. Once a loop has been recorded, note how the BPM of the Octatrack MKII will change to the BPM of the recorded loop. 11. Press [TRACK 2] to make the Pickup machine of track 2 active. Record a new loop, which automatically will be twice the length of the original loop, by following the instructions outlined in the step above. Reverse a recorded loop by setting DIR to REV. If DIR is set to PIPO, the loop will play in a ping pong fashion. Use a MIDI foot pedal connected to the Octatrack MKII for foot control of the Pickup machines. See the NOTE MAPPINGS chart, for information about which notes the Pickup machines respond to. Please see section “APPENDIX C: MIDI CONTROL REFERENCE” on page 137. 17.1.5 CONTROLLING THE PICK UP MACHINES WITH A MIDI FOOT CONTROLLER Using a MIDI foot controller to control the Pickup machines is great when using the Octatrack MKII in a hands-free way. In this tutorial we assume we are going to sample a guitar connected to input A. 1. Connect the MIDI OUT of the foot controller to the MIDI IN of the Octatrack MKII. 2. Make sure the foot controller sends MIDI messages on the Octatrack MKII auto channel. 3. Assign Pickup machines to track 1 and 2. 4. Open the RECORDING SETUP 1 menu by selecting track 1 and pressing [FUNC] + [REC1]. 5. Set INAB to A, INCD to -, RLEN to MAX, TRIG to ONE2, SRC3 to - and LOOP to ON.

17. OCTATRACK MKII TUTORIALS 107 6. Open the RECORDING SETUP 2 menu [FUNC] + [REC2]. Set FIN to 0.063, FOUT to 0.063, AB to 127, QREC to OFF, QPL to OFF and CD to 0. 7. Make the same settings for the Pickup machine on track 2. 8. On the foot controller, five pedals are going to be used. Set pedal 1 so it transmits MIDI note 60, a C note. This will initiate the combo recording, meaning the Pickup machine will sample from both input pairs as well as the internal source. As INCD and SRC3 has both has been set to -, only audio from input pair AB will be recorded. Pedal 1 thus fills the same function as the [REC1] key does when controlling the Pickup machine from the Octatrack MKII panel. 9. Pedal 2 should transmit MIDI note 64, an E note. This will toggle between Pickup machine play and stop. This pedal fills the same function as the [REC2] key does when controlling the Pickup machine from the Octatrack MKII panel. 10.Set pedal 3 so it transmits MIDI note 71, a B note. This will sync the sequencer to the active Pickup machine and make the sequencer start playing once the synced loop starts over again. 11. Set pedal 4 so it transmits MIDI note 69, an A note. This will move the focus of the active track to the previous track. If for example track 2 is active, pressing this pedal will make track 1 active. 12.Set pedal 5 so it transmits MIDI note 68, a G# note. This will move the focus of the active track to the next track. If for example track 2 is active, pressing this pedal will make track 3 active. 13.Make sure track 1 is active. Play the guitar. 14.Now you can initate Pickup machine sampling by pressing pedal 1. Press pedal 2 to stop sampling. The recorded sample will at the same time start looping. Move to track 2 by pressing pedal 5. Move back to track 1 by pressing pedal 4. If you want to sync the Octatrack MKII sequencer to a Pickup machine loop and make it start playing the next time the loop starts over, press pedal 3. MIDI CCs can be used instead of MIDI notes when working with Pickup machines. If the foot pedal only sends out MIDI CCs, send CC 59 to the autochannel. That CC message will be interpreted as a note on command by the Octatrack MKII. The CC values correspond to MIDI notes. To initiate for example combo recording, send CC 59 with a value of 60. 17.2 LOOP REMIXING Remixing loops is easy and rewarding. The tutorial assumes the set and project found on the bundled Compact Flash card is loaded. See “MOUNTING A SET AND LOADING A PROJECT” on page 17 for more information on how to load this set and project. This is of course not necessary as any sample can be used. 17.2.1 LOOP REMIXING USING SLICES 1. Make sure pattern A01 is loaded. Mute all tracks except track 1, containing the Flex sample ACDRUM. Select track 1 by pressing the corresponding [TRACK] key. 2. Press [FUNC] + [PAGE] to open the SCALE SETUP menu. Set the track length to 16/16. 3. Activate the GRID RECORDING mode by pressing [RECORD]. Make sure the [RECORD] key lights up. Then press [FUNC] + [PLAY] to clear all trigs of the track. 4. Place out new sample trigs on every step of the sequencer. Step 1, 2, 3 and so on. 5. Double press the [SRC] key to open the SRC SETUP menu. Set SLIC to ON. This will activate the slice playback functionality.

17. OCTATRACK MKII TUTORIALS 108 6. Press [TRACK 1] + [BANK] to open the sample in the audio editor. Open the TRIM menu by pressing the [SRC] key. Make sure the start point is located at the absolute beginning of the sample and the end point at the absolute end. 7. Open the SLICE menu by pressing the [AMP] key. Press [YES] to open the SLICE EDIT menu. Select CREATE SLICE GRID and press [YES]. Select 16 SLICES and press [YES]. The drum loop will be divided in 16 slices. 8. Press [YES] to open the SLICE EDIT menu once again. Select CREATE RANDOM LOCKS and press [YES]. The prompt “ALTER TRIGS? SURE?” appears. Press [YES] to proceed with randomizing the locks. The sample trigs will now play back the slices of the loop randomly. 9. Press [PLAY] to listen to the result. If you are not satisfied, repeat the CREATE RANDOM LOCKS command until a rhythm you like has been created. 17.2.2 LOOP REMIXING USING THE CROSSFADER 1. Make sure pattern A01 is loaded. Mute all tracks except track 1, containing the Flex sample ACDRUM. Select track 1 by pressing the corresponding [TRACK] key. 2. Press [FUNC] + [PAGE] to open the SCALE SETUP menu. Set the track length to 16/16. 3. Activate the GRID RECORDING mode by pressing [RECORD]. Make sure the [RECORD] key lights up. Then press [FUNC] + [PLAY] to clear all trigs of the track. 4. Place out new sample trigs on every step of the sequencer. Step 1, 2, 3, 4, 5 and so on. 5. Double press the [SRC] key to open the SRC SETUP menu. Set SLIC to ON. This will make the STRT parameter select between any available slices. 6. Press [TRACK 1] + [BANK] to open the sample in the audio editor. Open the SLICE menu by pressing the [AMP] key. 7. Press [YES] to open the slice open the SLICE EDIT menu. Select CREATE SLICE GRID and press [YES]. Select 16 SLICES and press [YES]. The drum loop will be divided in 16 slices. 8. Press [NO] exit the audio editor.

17. OCTATRACK MKII TUTORIALS 109 9. Press and hold [SCENE A] and press a [TRIG] key to assign a scene. The scene should be empty and we assume scene 1 was assigned. Do the same for Scene slot B. We assume scene 2 was assigned. 10.Access the SRC MAIN menu by pressing [SRC]. Press and hold [SCENE A] and set the STRT parameter, found in the SRC MAIN menu, to SL1. Then press and hold [SCENE B] and set the STRT parameter to SL16. The crossfader will now interpolate between the first slice and the last slice of the loop. 11. Press [PLAY] to start the Octatrack MKII sequencer. Move the crossfader in various ways to create new rhythms. 17.3 PREPARING LOOPS AND SAMPLES To make a sample stay in sync when the BPM of the Octatrack MKII is changed its original BPM of the sample must be set correctly. To make it easier to sync the sample, its start point should also be placed at a relevant position. This tutorial is a guide for how to do it “by the book”. Once you know the rules we encourage you to break them. Experiment with assigning other BPMs than the original to samples and use start points creatively. 1. Load a Flex or Static machine to a track. Load a drum loop sample to the machine. We assume the sample has a 4/4 time signature. Mute all other tracks. 2. Double click [SRC] to open the SRC SETUP menu. Set TSTR to OFF. Time stretch for the track has now been turned off and will therefore not affect the sample. 3. Press [RECORD] and place a sample trig on the first step of the step sequencer. 4. Press [FUNC] + [PAGE] to open the SCALE SETUP menu. Set the scale to 16/16. Press [NO] to exit the menu. 5. Press [TRACK] + [BANK] to open the sample in the audio editor. Press [SRC] to open the TRIM menu. Use the F knob to zoom in on the sample and set the start point with the knob A. A good position would be right before the downbeat. Press [FUNC] + [YES] to preview the sample from the start point. 6. Press [PLAY] to start the sequencer of the Octatrack MKII. 7. Press [TEMPO] to open the TEMPO menu. Turn the LEVEL knob to adjust the tempo. Once the sample loops seamlessly you know that this BPM is the original tempo of the sample. 8. Exit the TEMPO menu by pressing [NO]. Press [FX1] to open the ATTRIBUTES menu in the audio editor. Select ORIGINAL TEMPO and set it to the current Octatrack MKII BPM. Depending on the character of the sample, make sure TIMESTRETCH is set to either NORMAL or BEATS. 9. Press [NO] to exit the audio editor. In the SRC SETUP menu, set TSTR to AUTO. No matter the BPM of the Octatrack MKII sequencer, the loop will now be time stretched or time compressed accordingly and thus stay in sync.

17. OCTATRACK MKII TUTORIALS 110 To permanently link the start point and ORIGINAL TEMPO settings to the sample, use the SAVE SAMPLE SETTINGS command found in the FILE menu. 17.4 THE OCTATRACK MKII AS A DJ DECK The Octatrack MKII can function as a complete DJ setup, eliminating the need for both DJ decks and a DJ mixer. 1. Connect a pair of headphones to the Octatrack MKII headphones output. 2. Double press [TRACK 1] to open the QUICK ASSIGN menu. Assign a Static machine to track 1. Press [TRACK 5] and assign a Static machine to track 5. This makes it easier to remember where the different tracks you are going to mix between are located. The left block of tracks could be said to represent one DJ deck and the right track block another. Make sure none of the tracks contain any trigs. 3. Double-click either [TRACK 1] or [TRACK 5] to open the Static sample slot list. Select an empty sample slot and press [YES] to open the file browser. Select a long sample, preferably a complete song, and press [YES] to load it to the sample slot. Load three or four songs to the Static sample slot list. 4. Prepare the songs as described in the tutorial “PREPARING LOOPS AND SAMPLES” on page 136. This will time stretch or time compress them so they play in sync with Octatrack MKII BPM. 5. Double-click [TRACK 1] to open the Static sample slot list. Assign one of the songs to the Static machine of track 1. Press [TRACK 5] and assign another song to the Static machine of track 5. 6. Press [MIXER] to open the MIXER menu. Make sure MIX is set so a cue signal will be audible once a track is cued. 7. Assign a Scene to Scene A by pressing [SCENE A] + a [TRIG] key. Assign a Scene to Scene B by pressing [SCENE B] + a [TRIG] key. We assume scene 1 was assigned to Scene A and scene 2 to Scene B. 8. Select track 1 and press and hold [SCENE A]. Note how the LEV parameter changes to XLV. While keeping [SCENE A] pressed, turn the LEVEL knob so XLV is set to MAX. Release [SCENE A] and press and hold [SCENE B]. Turn the LEVEL knob so XLV is set to MIN. 9. Select track 5 and press and hold [SCENE A]. While keeping [SCENE A] pressed, turn the LEVEL knob so XLV is set to MIN. Release [SCENE A] and press and hold [SCENE B]. Turn the LEVEL knob so XLV is set to MAX. When the crossfader is at its leftmost position only the audio from track 1 will be routed to the main outputs. When it is at its rightmost position only the audio from track 2 will be routed to the main outputs. Any other crossfader position will mix the between the audio of the tracks. 10.Set the crossfader to its leftmost position. Make sure GRID RECORDING mode is not active and press [TRIG 9] to trig the machine of track 1. The sample assigned to the machine will start playing through the main outputs. 11. Press [CUE] + [TRACK 5] to cue listen to the other song using the headphones. When it is time to mix in song 2, first trig it by pressing [TRIG 13] at the downbeat of song 1. Then slide the crossfader from left to right. Song 2 will now be heard, mixed in sync with song 1. Press [CUE] + [TRACK 5] to de-cue song 2. 12.Assign a new sample to the Static machine of track 1. Press [CUE] + [TRACK 1] to cue the new song. Trig it by pressing [TRIG 9] at the downbeat of song 2. Slide the crossfader from right to left to mix in the new song. Prepare a DJ set by loading a lot of songs to the Static sample slot list. The songs should be prepared according to the tutorial “17.3 PREPARING LOOPS AND SAMPLES” on page 109. This will make it easy to mix between songs. Use the track effects to make for example filter sweep transitions when mixing between two songs.

17. OCTATRACK MKII TUTORIALS 111 17.5 THE OCTATRACK MKII AS AN EFFECTS PROCESSOR The Neighbor machines offer the possibility to chain tracks. As the sound from the first track in the chain will be routed through the rest of the chained tracks and their respective track effects, very powerful effects chains can be formed. In this example an external sound source will be affected by up to eight track effects. 1. Connect an external sound source to input pair AB of the Octatrack MKII. Make sure the <REC> LEDs indicate an audio signal is being sent to the input pair. 2. Open the MIXER menu by pressing [MIXER]. Make sure DIR for AB and CD is set to 0. This will make incoming sound available to only Thru machines. 3. Double-click [TRACK 1] to open the QUICK ASSIGN menu. Assign a Thru machine to track 1. In the SRC MAIN menu, set INAB to A B. This will make the machine listen to input pair AB. 4. Double click [TRACK 2] and assign a Neighbor machine to track 2. Do the same for track 3 and 4. 5. Select track 1. Double press [FX1], select an effect from the list and assign it to the track by pressing [YES]. Assign an effect to the second track effect block as well. Repeat the procedure for track 2, 3 and 4. An effects chain has now been created. 6. Select track 1, press [RECORD] to enter GRID RECORDING mode and place a trig on the first step of the sequencer. Trigging the Thru machine is necessary for it to start passing through incoming audio. 7. Press [PLAY]. The external sound, shaped by the track effects, should now be heard from the Octatrack MKII main outputs. Use scenes and the crossfader to control multiple effects parameters in real time. Add parameter locks for rhythmical effect applications. For strange and interesting results, remove the Thru machine from track 1 and instead assign a Flex machine to which recorder buffer 1 is loaded. Open one of the RECORDING SETUP menus and place some recorder trigs on the sequencer. Make sure the trigs record from input AB. Trig the recorder buffer by placing sample trigs on track 1. Parameter lock the sample trigs so the recorded audio is pitched up or down, is affected by effects in various ways et cetera. Use the LFOs to further modulate the track parameters. Press [PLAY] to enjoy automated real-time sampling and extensive audio manipulation.

18. STARTUP MENU 112 18. STARTUP MENU To access this menu, hold down the [FUNC] key while powering up the Octatrack MKII. From here you can perform a variety of tasks. To choose the different alternatives, press the corresponding [TRIG] key. 18.1 TEST MODE To enter this mode, press the [TRIG 1] key. If you have any trouble with your Octatrack MKII and suspect it may be due to a hardware problem, perform this self test. Everything should come up as shown below. If not, contact Elektron support or the retailer you bought the Octatrack MKII from. 18.2 EMPTY RESET To perform this operation, press the [TRIG 2] key. This will reinitialize the battery backed RAM and clear all data. The content of the Compact Flash card will not be affected. 18.3 MIDI UPGRADE Press the [TRIG 3] key to choose this option. Here the Octatrack MKII prepares itself to receive an OS upgrade via MIDI. 1. Connect the Octatrack’s MIDI ports to the computer’s MIDI interface. The upgrade can not be sent over the Octatrack’s USB port. 2. Load the new OS in an appropriate program capable of sending sysex files. To send the OS file, use our free Elektron Transfer software that can be downloaded from the Elektron website. 3. Choose MIDI UPGRADE by pressing the third [TRIG] key. The Octatrack MKII will wait for the OS to be transmitted to it and a message stating “READY TO RECEIVE MIDI UPGRADE…” will appear on the screen. 4. As the Octatrack MKII receives the OS the [TRIG] keys will light up one after another. Please note that this procedure takes a while. 5. When the transfer is finished the message “PREPARING FLASH” appears. 6. “PREPARING FLASH” is shortly followed by “UPDATING FLASH”. When this process is finished the OS is updated. After the upgrade the operating system may upgrade the bootstrap, do not turn off the unit before it has completed its startup sequence or explicitly tells you to restart! 18.4 SEND UPGRADE With this option you can send the OS installed in your Octatrack MKII to a friend’s unit. Press the [TRIG 4] key to choose this option. 1. Connect the MIDI OUT on the Octatrack MKII with the latest OS to the MIDI IN on the Octatrack MKII that is going to be upgraded. Enter the EARLY STARTUP menus on both machines. 2. Enter the MIDI UPGRADE mode in the Octatrack MKII that is supposed to be upgraded by pressing the third [TRIG] key. Make sure you see the message “READY TO RECEIVE MIDI UPGRADE…” on the screen. 3. Press the fourth [TRIG] key on the Octatrack MKII that is used to send the OS upgrade. This will start the transmission of the OS to the other Octatrack MKII.

18. STARTUP MENU 113 18.5 EXIT Press the [TRIG 5] key to exit the STARTUP menu. For faster OS updates, utilize the speed of the Elektron TurboCharge protocol. You will need to have the MIDI IN port of the receiving machine connected to the MIDI OUT port of the transmitting machine and vice versa for this to function. The most convenient way of upgrading the OS is by updating from the Compact Flash card. This is performed in the OS UPDATE menu. Read more about this menu in the section “8.5 SYSTEM” on page 32.

19. SUMMARY OF KEY PRESS COMBINATIONS 114 19. SUMMARY OF KEY PRESS COMBINATIONS [REC1/2/3] + [BANK] opens the recorder buffer, corresponding to the active track, in the audio editor. [BANK] + [TRIG] selects the active bank. [CUE] + [YES] previews the selected sample through the cue outputs while in the audio editor, the Flex or Static sample slot lists or the file browser. [CUE] + [AUDIO RECORD AB/CD] cues the chosen audio input. [CUE] + [TRACK] cues the chosen track. [CUE] + LEVEL sets the cue level of a track. [NO] + [TRACK] will in LIVE RECORDING mode erase trigs on the track. [NO] + KNOB push will in LIVE RECORDING mode erase parameter locks on the track. [FUNC] + [REC1/2] opens the RECORDING SETUP menus. [FUNC] + [REC3] opens the RECORDING EDIT menu. [FUNC] + [BANK] opens TRACK TRIG EDIT menu. If GRID RECORDING mode is not active the PATTERN SETTINGS menu will be opened. If the QUICK ASSIGN or SRC SETUP menus are active the selected sample will be opened in the audio editor. If the ARRANGER mode is active various options will be accessed. If the PARTS menu is active, various options for the parts will be accessed. [FUNC] + [CUE] reloads the active part to its saved settings. [FUNC] + [PROJ] saves the project. [FUNC] + [PART] to edit the current part. [FUNC] + [AED] opens the CREATE SLICE GRID menu. [FUNC] + [MIX] toggles the metronome on/off. [FUNC] + [MIDI] opens the MIDI sync settings. [FUNC] + [TRACK] mutes the chosen track. [FUNC] + [PTN] opens the ARRANGER menu. [FUNC] + [TRACK PARAMETER] opens the SETUP menus of the TRACK PARAMETER pages. [FUNC] + [SCENE A/B] mutes scene A or scene B. [FUNC] + [PAGE] opens the SCALE SETUP menu. [FUNC] + [TRIG] places lock trigs and one shot trigs on the sequencer when GRID RECORDING mode is active. [FUNC] + [TRIG 9...16] will when no RECORDING mode is activated manually trig trigless trigs instead of sample trigs. This is only relevant when TRACKS or CHROMATIC trig mode is active. [FUNC] + [TEMPO] makes it possible, through repeating [TEMPO] key presses, to tap the BPM of the sequencer. [FUNC] + [RECORD] performs a copy command. The content that will be copied depends on the currently active menu or mode of the Octatrack MKII. [FUNC] + [PLAY] performs a clear command. The content that will be cleared depends on the currently active menu or mode of the Octatrack MKII. [FUNC] + [STOP] performs a paste command. The content that will be pasted depends on the content that was copied. [FUNC] + [UP]/[DOWN] increases the scrolling speed in various menu lists. [FUNC] + [UP]/[DOWN] will when no scrollable menu is active change the active TRIG mode. [FUNC] + [LEFT]/[RIGHT] will while in GRID RECORDING mode nudge trigs back or forth one step. [FUNC] + [YES] previews the selected sample through the main outputs while in the audio editor, the Flex or Static sample slot lists or the file browser. [FUNC] + [NO] will for as long as held remove all parameter locks from the active track while in LIVE RECORDING mode. [FUNC] + LEVEL adjusts the MAIN parameter of the MIXER menu. [PTN] + [TRIG] selects the active pattern. [PAGE] + [RECORD] copies the active pattern page.

19. SUMMARY OF KEY PRESS COMBINATIONS 115 [PAGE] + [PLAY] clears the active pattern page. [PAGE] + [STOP] pastes a copied pattern page to the active pattern page. [SCENE A/B] + [TRIG] assigns a scene to the selected scene slot. [TRACK] + [PLAY] trigs the sample assigned to the machine of the track. [TRACK] + [STOP] stops playback of the sample assigned to the machine of the track. [TRACK] + [BANK] opens the sample assigned to the track in the audio editor. [TRACK] + [REC1/2] initiates sampling from the audio inputs. [TRACK] + [REC3] initiates internal sampling of the audio tracks. [TRACK] + [YES] re-arms any one shot recorder trigs of the track whose [TRACK] key was pressed. [TRACK] + [NO] disarms any one shot recorder trigs of the track whose [TRACK] key was pressed. [TRACK] + [LEFT]/[RIGHT] nudges the BPM of the sample of the track. [TRACK PARAMETER] + [RECORD] copies the parameter settings of a TRACK PARAMETER page. [TRACK PARAMETER] + [STOP] pastes the copied parameter settings of a TRACK PARAMETER page. [TRACK PARAMETER] + [PLAY] initializes the settings of a TRACK PARAMETER page. [TRACK PARAMETER] + [YES] to randomize that parameters on that TRACK PARAMETER page. [TRACK PARAMETER] + [NO] to reset the TRACK PARAMETER to the state of its last saved part [SCENE] + [RECORD] copies the assigned scene. [SCENE] + [PLAY] clears the assigned scene. [SCENE] + [STOP] pastes a copied scene to the scene assigned to the scene slot. [TRIG] + [NO] will turn a lock trig into a trigless trig. [TRIG] + [NO] will turn a trigless trig into a lock trig. [TRIG] + [NO] will turn a sample trig into a trigless trig. [TRIG] + [UP]/[DOWN] will, while in GRID RECORDING mode, open the SAMPLE LOCK menu. [TRIG] + [LEFT]/[RIGHT] will while in GRID RECORDING mode open the MICRO TIMING menu. [TRIG] + [RECORD] copies the selected trig. [TRIG] + [PLAY] clears all parameter locks from the selected trig. [TRIG] + [STOP] pastes a previously copied trig. [TRIG] + [YES] previews an audio track trig on the MAIN outputs and previews a MIDI track trig. [TRIG] + [CUE] previews an audio track trig on the CUE outputs and previews a MIDI track trig. [MIDI] + [UP]/[DOWN] will, when AUDIO NOTE IN is set to MAP/TRACK, select MIDI MAP configuration for the active track.

20. TECHNICAL INFORMATION 116 20. TECHNICAL INFORMATION ELECTRICAL SPECIFICATIONS Impedance balanced audio outputs Main outputs level: +17 dBu peak Output impedance: 440 Ω unbalanced Digital S/N ratio: 104 dB (20–20,000 Hz) Headphones output Headphones out level: +17 dBu peak Output impedance: 55 Ω Balanced audio inputs Input level: +17 dBu peak Audio input impedance: 21 kΩ Digital S/N ratio: 106 dB (20–20,000 Hz) Unit power consumption: 7 W typical Compatible Elektron power supply: PSU-3c HARDWARE 128 × 64 pixel OLED screen MIDI In/Out/Thru 2 × 1/4” impedance balanced main audio out jacks 2 × 1/4” impedance balanced cue audio out jacks 4 × 1/4” balanced/unbalanced external input jacks 1 × 1/4” stereo headphone jack 44,1 kHz, 24-bit D/A and A/D converters Hi-speed USB 2.0 port Power inlet: Center positive 5.5 × 2.5 mm barrel jack, 12 V DC, 2 A PHYSICAL SPECIFICATIONS Sturdy steel casing Dimensions: W 340 × D 184 × H 63 mm (13.3” × 7.2” × 2.5”) (including knobs, jacks, and rubber feet) Weight: approximately 2.3 kg (5 lbs) Maximum recommended ambient operating temperature: +40˚C (+104˚F) 21. CREDITS AND CONTACT INFORMATION CREDITS PRODUCT DESIGN AND DEVELOPMENT Oscar Albinsson Johannes Algelind Ali Alper Çakır Magnus Forsell Anders Gärder Andreas Henriksson Thomas Jansson Jimmy Myhrman Jon Mårtensson Viktor Nilsson David Revelj Mattias Rickardsson Martin Sigby Daniel Troberg ADDITIONAL DESIGN Magnus Almberg Johan Damerau Ufuk Demir Thomas Ekelund Simon Mattisson Olle Petersson Cenk Sayınlı DOCUMENTATION Erik Ångman CONTACT INFORMATION ELEKTRON WEBSITE https://www.elektron.se OFFICE ADDRESS Elektron Music Machines MAV AB Banehagsliden 5 SE-414 51 Gothenburg Sweden

APPENDIX A: MACHINE REFERENCE 117 APPENDIX A: MACHINE REFERENCE In this appendix, the Octatrack MKII machines are explained. The individual machine parameters are presented for reference. A.1 THRU MACHINE Thru machines are utility machines, very handy in live setups when using the Octatrack MKII to re-route and affect external audio signals. Thru tracks need to be trigged for them to start passing through sound. Thru machine playback can be stopped by pressing [TRACK] + [STOP]. THRU MAIN INAB sets how input pair AB should be listened to. VOL sets the volume of the signal coming from the input or inputs chosen by the INAB setting. The max setting will boost it by +12 dB. The min setting will mute it. INCD sets how input pair CD should be listened to. VOL sets the volume of the signal coming from the input or inputs chosen by the INCD setting. The max setting will boost it by +12 dB. The min setting will mute it. THRU SETUP No setup parameters are available.

APPENDIX A: MACHINE REFERENCE 118 A.2 FLEX MACHINE Flex machines offer the most extensive sound manipulation possibilities. A sample used by a Flex machine is loaded to the RAM memory of the Octatrack MKII. From there it can be twisted, stretched and reassembled in multiple ways. Flex machines are unbeatable sound processors. FLEX MAIN PTCH adjusts the pitch of the sample. The max setting pitches the sample up an octave, a min setting pitches the sample down an octave. Integer changes are equivalent to semitones. STRT controls the start point of the sample in a linear fashion. If the sample contains slices, and the SLIC parameter in the FLEX SETUP menu is set to ON, this parameter selects between the slices. STRT values exceeding the number of actual sample slices will select the last sample slice. LEN controls the length of the sample or slice. The behavior is controlled by the LEN parameter found in the FLEX SETUP menu. RATE adjusts the playback speed. It shifts behavior depending on the RATE setting found in the FLEX SETUP page. When set to 0 the sample won’t be played back at all. Negative values make the sample play backwards. RTRG sets the number of retrigs that should occur when a note is trigged. RTIM sets the time between each retrig. The time is relative to the tempo and is expressed in values relating to the amount of steps of the sequencer. FLEX SETUP LOOP sets the master loop mode setting of the track. When set to AUTO the individual loop settings made in the audio editor will apply. Each sample of the track can then have its own loop setting. SLIC selects whether slices will be selected or not by the STRT parameter found in the FLEX MAIN page. LEN offers different settings depending on if SLIC is active or not. If SLIC is set to ON LEN can be set to either SLIC or TIME. SLIC will make the LEN parameter of the FLEX MAIN page control how many slices, starting from the STRT slice, that will play. TIME means that LEN controls the length of a particular slice. If SLIC is set to OFF, LEN can be set to either OFF or TIME. OFF renders the FLEX MAIN LEN parameter inactive. TIME means that LEN will linearly control the length of the sample that will be played, starting from the set STRT value. RATE selects if the RATE parameter found in the main menu will affect the timestretch or pitch of the sample. TSTR sets the master timestretch setting of the track. When set to AUTO the individual timestretch settings made in the audio editor will apply. Each sample of the track can then have its own timestretch setting. TSNS adjusts the transient detection when the timestretch algorithm is set to BEAT. The higher the setting, the more transient sensitive the algorithm will be.

APPENDIX A: MACHINE REFERENCE 119 A.3 STATIC MACHINE Static machines are perfect for handling extremely large samples. Samples assigned to Static machines are streamed from the Compact Flash card, thus their size can be in the order of gigabytes. They can of course still be time stretched and pitch scaled as needed. STATIC MAIN PTCH adjusts the pitch of the sample. The max setting pitches the sample up an octave, a min setting pitches the sample down an octave. Integer changes are equivalent to semitones. STRT controls the start point of the sample in a linear fashion. If the sample contains slices, and the SLIC parameter in the STATIC SETUP menu is set to ON, this parameter selects between the slices. STRT values exceeding the number of actual sample slices will select the last sample slice. LEN controls the length of the sample or slice. The behavior is controlled by the LEN parameter found in the STATIC SETUP menu. RATE adjusts the playback speed. It shifts behavior depending on the RATE setting found in the STATIC SETUP page. When set to 0 the sample won’t be played back at all. Negative values make the sample play backwards. RTRG sets the number of retrigs that should occur when a note is trigged. RTIM sets the time between each retrig. The time is relative to the tempo and is expressed in values relating to the amount of steps of the sequencer. STATIC SETUP LOOP sets the master loop mode setting of the track. When set to AUTO the individual loop settings made in the audio editor will apply. Each sample of the track can then have its own loop setting. SLIC selects whether slices will be accessible or not to the STRT parameter found in the STATIC MAIN page. LEN offers different settings depending on if SLIC is active or not. If SLIC is set to ON LEN can be set to either SLIC or TIME. SLIC will make the LEN parameter of the STATIC MAIN page control how many slices, starting from the STRT slice, that will play. TIME means that LEN controls the length of a particular slice. If SLIC is set to OFF LEN can be set to either OFF or TIME. OFF renders the STATIC MAIN LEN parameter inactive. TIME means that LEN will linearly control the length of the sample that will be played, starting from the set STRT value. RATE selects if the RATE parameter found in the main menu will affect the timestretch or pitch of the sample. TSTR sets the master timestretch setting of the track. When set to AUTO the individual timestretch settings made in the audio editor will apply. Each sample of the track can then have its own timestretch setting. TSNS adjusts the transient detection when the timestretch algorithm is set to BEAT. The higher the setting, the more transient sensitive the algorithm will be.

APPENDIX A: MACHINE REFERENCE 120 A.4 NEIGHBOR MACHINE Neighbor machines listen to the output of the preceding track. Multiple tracks with Neighbor machines can form extremely powerful effects chains. Neighbor machines cannot be assigned to track 1 or 5. NEIGHBOR MAIN No main parameters are available. NEIGHBOR SETUP No setup parameters are available.

APPENDIX A: MACHINE REFERENCE 121 A.5 PICKUP MACHINE Pickup machines are specialized for recording loops. A Pickup machine is hard-linked to both the track recorder and the recorder buffer of the track it is assigned to. The function of the [REC1/2] keys change for tracks to which Pickup machines are assigned. Pickup machine parameters can not be locked. For more info how to work with Pickup machines, see “17.1.4 PICKUP MACHINE SAMPLING” on page 105. PICKUP MAIN PITCH adjusts the pitch of the sample. The max setting pitches the sample up an octave, a min setting pitches the sample down an octave. Integer changes are equivalent to semitones. For overdubbing and replacing to be possible, this parameter must be set to 0. DIR controls playback direction of the sample. It can be played from start to end, in a ping-pong fashion or backwards. LEN selects the length of the slave loop in relation to the master loop. It is only used when recording a new slave loop. For a master loop, the loop first recorded, this parameter fill no function. GAIN can attenuate or boost the volume of recordings or overdubs, making gradual fade outs possible. The value is expressed in dB. OP controls the recording behavior. If GAIN is selected, the Pickup machine will not be able to record any material. Only volume changes, dictated by the GAIN parameter, to an already recorded loop will be possible to perform. If DUB is selected, it will be possible to make overdubs on top of the original loop. The volume of the overdub is controlled by the GAIN parameter. PICKUP SETUP TSTR sets the master timestretch setting of the track. When set to AUTO the individual timestretch settings made in the audio editor will apply. It is not possible turn off timestretch for Pickup machines. TSNS adjusts the transient detection when the timestretch algorithm is set to BEAT. The higher the setting, the more transient sensitive the algorithm will be.

APPENDIX B: EFFECTS REFERENCE 122 APPENDIX B: EFFECTS REFERENCE In this appendix, the Octatrack MKII effects are explained. The individual effect parameters are presented for reference. B.1 NONE The none effect is a blank effect. Use it if you don’t want to affect the audio of the track whatsoever. NONE MAIN No main parameters are available. NONE SETUP No setup parameters are available.

APPENDIX B: EFFECTS REFERENCE 123 B.2 12/24DB MULTI MODE FILTER The resonant 12/24dB lo/hi/band-pass filter gives control of both the low and high filter cutoffs. Its flexibility can make it function as a variable gap bandpass filter as well. MULTI MODE FILTER MAIN BASE sets the base cutoff frequency of the filter. Sweeping this parameter with WIDTH set to the max value makes the multi mode filter act as a high pass filter. WIDTH controls the distance between the low pass and high pass cutoff frequencies. When BASE is set to its minimum value, sweeping this parameter makes the multi mode filter act as a low pass filter. Q controls the amount of resonance applied to the cutoff frequency or frequencies set in the multi mode filter SETUP menu. DEPTH controls how much the filter envelope affects the cutoff frequency or frequencies. Negative values invert the envelope. ATK sets the attack time of the filter envelope. DEC sets the decay time of the filter envelope. MULTI MODE FILTER SETUP HP sets the high pass filter slope. Select between 12 dB or 24 dB. LP sets the low pass filter slope. Select between 12 dB or 24 dB. ENV selects which parameter the filter envelope will affect. HOLD controls whether the filter envelope should be affected by the HOLD parameter of the AMP MAIN page or not. Q selects how the resonance will affect the cutoff frequencies. It can affect the BASE, WIDTH, both of them or none. DIST sets the headroom of the filter. The higher the value, the lower the headroom.

APPENDIX B: EFFECTS REFERENCE 124 B.3 2-BAND PARAMETRIC EQ The parametric EQ is useful for shaping the timbre of a sound. Two frequency bands can be attenuated or amplified. PARAMETRIC EQ MAIN FRQ1 sets the center frequency the first band of the EQ will affect. GN1 attenuates or boosts the set frequency. Q1 controls the width of the frequency range the GN1 setting affects. The higher the value the narrower the frequency curve. FRQ2 sets the center frequency the second band of the EQ will affect. GN2 attenuates or boosts the set frequency. Q2 controls the width of the frequency range the GN2 setting affects. The higher the value the narrower the frequency curve. PARAMETRIC EQ SETUP TYP1 sets how the first band of the filter will operate. It can act as a low shelf shelving filter, a full parametric EQ or as a high shelf shelving filter. TYP2 sets how the second band of the filter will operate. It can act as a low shelf shelving filter, a full parametric EQ or as a high shelf shelving filter.

APPENDIX B: EFFECTS REFERENCE 125 B.4 DJ STYLE KILL EQ This EQ variant is somewhat of a cross-breed between a filter and an EQ. It is a three band EQ, capable of completely filtering out the bands. DJ EQ MAIN LS F sets the frequency of the low shelf filter. HS F sets the frequency of the high shelf filter. LOWG controls the gain of the first band of the EQ. A max setting will boost the signal +12 dB. A min setting will kill the band completely. MIDG controls the gain of the second band of the EQ. A max setting will boost the signal +12 dB. A min setting will kill the band completely. HI G controls the gain of the third band of the EQ. A max setting will boost the signal +12 dB. A min setting will kill the band completely. DJ EQ SETUP No setup parameters are available.

APPENDIX B: EFFECTS REFERENCE 126 B.5 2-10 STAGE PHASER The phaser applies sweeping effects to sounds. It can also be used to make sounds appear wider. PHASER MAIN CNTR selects the center phase of the phase modulation. DEP sets the depth of the phase modulation. SPD adjusts the speed of the phase depth modulation. FB controls the feedback of the original signal. WID controls the stereo width of the affected signal. MIX adjusts the output between the original dry signal and the phased signal. PHASER SETUP NUM selects the number of stages that should be used.

APPENDIX B: EFFECTS REFERENCE 127 B.6 FLANGER A flanger is a modulation effect sharing similarities with the phaser. The main difference is the notches being evenly spread out in the frequency spectrum. FLANGER MAIN DEL controls the amount of delay of the flanged signal. DEP controls the depth of the flanger. SPD adjusts the speed of the flanger. FB controls the feedback of the original signal. WID controls the stereo width of the affected signal. MIX adjusts the output between the original dry signal and the wet, flanged, signal. FLANGER SETUP No setup parameters are available.

APPENDIX B: EFFECTS REFERENCE 128 B.7 2-10 TAP CHORUS The variable tap stereo chorus is great for enhancing the stereo image of a sound and for making it appear softer and smoother. CHORUS MAIN DEL controls the delay time of the taps. DEP controls the depth of the modulation of the chorus taps. SPD sets the low frequency modulation speed of the taps. FB controls the feedback of the delay taps. WID controls the stereo width output of the chorus. MIX adjusts the output between the original dry signal and the chorused wet signal. CHORUS SETUP TAPS sets the number of chorus taps that should be used. FBLP controls the low pass filtering of the feedback signal.

APPENDIX B: EFFECTS REFERENCE 129 B.8 SPATIALIZER The spatializer effect is suitable for affecting the stereo image in various ways, for example by widening it, or making it more narrow. It is also capable of generating a pseudo-stereo image from a mono sample. SPATIALIZER MAIN INP adjusts the gain of the dry signal. DPTH sets the depth of the widened signal. The parameter works in conjunction with the WDTH control. WDTH sets the amount of stereo spread. The parameter works in conjunction with the DPTH control. HP controls the cutoff frequency of the high pass filter for the widened signal. LP controls the cutoff frequency of the low pass filter for the widened signal. SEND adjusts the level of the widened signal. SPATIALIZER SETUP PHSE reverses the phase of the wet signal for: none of the channels (NONE), the left channel (L), the right channel (R) or both the left and right channel (L,R). M/S activates/deactivates the MG and SG controls. MG controls the amount of mid gain. SG controls the amount of side gain.

APPENDIX B: EFFECTS REFERENCE 130 B.9 COMB FILTER The comb filter introduces metallic sounding, pitch tuned, resonant overtones to sounds and samples. COMB FILTER MAIN PTCH controls the resonant frequencies of the comb filter. TUNE changes the pitch by up to 2 semitones up or down. LP controls the cutoff frequency of the low pass filter that is implemented in the feedback signal. FB controls the gain of the feedback signal. MIX controls the dry/wet signal. COMB FILTER SETUP No setup parameters are available.

APPENDIX B: EFFECTS REFERENCE 131 B.10 DYNAMIX COMPRESSOR The Dynamix processor can be used for increasing the overall sound level of a track or pattern. It can also be used to enhance or reduce transients. COMPRESSOR MAIN ATK sets the attack time from 0.5 ms to 100 ms. REL sets the release time from 50 ms to 5 s. THRS controls the compressor knee threshold. RAT sets the compression ratio between 1:1 and 1:255. GAIN can be used to adjust the output level of the compressor. MIX adjusts the output between the uncompressed dry signal and the compressed wet signal. COMPRESSOR SETUP RMS adjusts the way the compressor works. A zero setting makes the compressor look for amplitude peaks and a max setting makes it react to the overall energy level of the signal.

APPENDIX B: EFFECTS REFERENCE 132 B.11 LO-FI COLLECTION The lo-fi collection consists of several effects dedicated to making sounds grittier and more abrasive. These effects are not for the faint-hearted! LO-FI MAIN DIST controls the signal overload distortion. AMF controls the modulation frequency of the amplitude modulator. The amplitude modulator is essentially a volume control which is controlled by a low frequency oscillator. A high setting makes for extreme changes in the timbre of a sound. SRR controls the amount of sample rate reduction. BRR controls the amount of bit rate reduction. AMD controls the modulation depth of the amplitude modulator. LO-FI SETUP AMPH sets the start phase of the amplitude modulation. It is adjusted in degrees. A setting of 90 makes the modulator start high. A setting of 270 makes it start low.

APPENDIX B: EFFECTS REFERENCE 133 B.12 ECHO FREEZE DELAY The delay adds echoes to the affected signal. The special echo freeze functionality makes it possible to repeat a portion of a sound. DELAY MAIN TIME controls the delay time of the delay loop. The actual delay time is relative to the current tempo, and it is measured in 256th notes. The delay time will not be relative to the tempo of you set SYNC to off. TIME setting Divide ratio 128 1 96 1/2. 64 1/2 48 1/4. 32 1/4 24 1/8. 16 1/8 12 1/16. 8 1/16 6 1/32. 4 1/32 3 1/64. 2 1/64 1 1/128 FB controls how much of the delay output sound will be fed back into the input of the delay. Using the delay feedback you can make delays with several or infinite echoes. VOL sets the main volume of the delay output. BASE controls the high pass filtering of the signal from the delay feedback loop. WDTH controls the low pass filtering of the signal from the delay feedback loop, relative the BASE parameter. SEND controls how much of the signal that will be sent to the delay. DELAY SETUP X sets if the delay will act as a ping-pong delay or not. TAPE sets the mode of the delay. An ON setting will make the delay interpolate between delay times when the TIME parameter in the DELAY MAIN page is changed. An OFF setting will not interpolate between the delay times when the TIME parameter is changed. DIR sets the how much of the dry signal that will be mixed with the delay signal. A min setting will make only the delay signal be heard. SYNC controls whether the delay should be tempo synced or not. LOCK will when activated make it possible for the delay to function as repeater effect. If the FB parameter of the DELAY MAIN page is set to 127, setting SEND to 0 will repeat the content of the delay buffer infinitely. Lower FB values will make the buffer fade out gradually. SEND settings other than 0 deactivates the repeats. TIME controls the length of the repeats. Please note that if PASS is set to 0, VOL of the DELAY MAIN page will not affect the amplitude of the delay buffer signal. PASS controls how the dry signal will be routed when the LOCK setting is activated. A setting of 1 will mix in dry signal, setting of 0 will make only the delay buffer be heard - which is preferable for repeater use. The volume of the dry signal is controlled by DIR. When PASS is activated, the volume of the delay buffer is controlled by the VOL parameter of the DELAY MAIN page. When deactivated, VOL do not affect the buffer signal.

APPENDIX B: EFFECTS REFERENCE 134 B.13 GATEBOX PLATE REVERB The Gatebox plate reverb adds reverberation to the signal. The effect has many uses thanks to the implemented gating possibilities. PLATE REVERB MAIN TIME controls the decay time, i.e. how long time the reverberated signal will stay around before dying out. DAMP sets the reverb damping, which is the effect of “soft walls”. The higher the parameter is set the faster the sound will die out. GATE sets the gate time. The reverbated signal is gated after this time, if the signal level is low. The maximal value for this parameter gives infinite time - in other words, the gate is turned off. HP controls the high pass filtering of the reverb signal. LP controls the low pass filtering of the reverb signal. MIX adjusts the output between the original dry signal and the reverberated wet signal. When MIXF of the REVERB SETUP page is set to SEND, the MIX parameter works similarly to an aux send knob of a mixer. PLATE REVERB SETUP GVOL sets the threshold volume of the gated signal. BAL sets the balance between the left/right channel of the reverberated signal. MONO continuously adjusts the width of the reverberated signal from stereo to mono. MIXF defines the functionality of the MIX control of the REVERB MAIN page to be either MIX or SEND.

APPENDIX B: EFFECTS REFERENCE 135 B.14 SPRING REVERB This effect is based on a classic spring reverb. It adds a grungy and “twangy” reverberation to the incoming signal. SPRING REVERB MAIN TIME sets the decay time of the springs. HP controls the cut off frequency of the high pass filter of the springs. LP controls the cut off frequency of the low pass filter of the springs. MIX adjusts the balance between the dry and reverberated signal. SPRING REVERB SETUP TYPE sets the type of spring going from slightly transparent to more springy in three steps. BAL sets the balance between the left/right channel of the reverberated signal.

APPENDIX B: EFFECTS REFERENCE 136 B.15 DARK REVERB The dark reverb provides lush, wide stereo reverberation with long decay times. It is good for adding a spacey ambience to a sound. DARK REVERB MAIN TIME sets the decay time of the reverberated signal. SHVG affects the damping of the reverberated signal above the shelving frequency set by the SHVF parameter. At max value treble is included in the reverberations, lowering the value gradually dampens it. SHVF controls the frequency of the shelving filter inside the reverberator. Together with the SHVG parameter it can be used to dampen the reverberated signal above a chosen frequency, making the reverberation sound darker. HP controls the cutoff frequency of the high pass filter affecting the incoming signal. LP controls the cutoff frequency of the low pass filter affecting the incoming signal. MIX adjusts the mix between the original dry signal and the reverberated signal. When MIXF of the DARK REVERB SETUP page is set to SEND, the MIX parameter works similarly to an aux send knob of a mixer. DARK REVERB SETUP PRE adjusts the length of a short delay before the signal reaches the reverberator. BAL sets the balance between the left/right channel of the reverberated signal. MONO continuously adjusts the width of the reverberated signal from stereo to mono. MIXF defines the functionality of the MIX control of the DARK REVERB MAIN page to be either MIX or SEND.

APPENDIX C: MIDI CONTROL REFERENCE 137 APPENDIX C: MIDI CONTROL REFERENCE All parameters found in the TRACK PARAMETER MAIN pages are controllable by MIDI control change messages. It is also possible to trig tracks, samples, and track recorders as well as to play samples chromatically from an external MIDI device. Which tracks responding to which MIDI channels are configured in the PROJECT > MIDI > CHANNELS menu. The MIDI note mapping varies depending on what TRIG mode and MIDI MAP configuration you chose. For more information, please see “12.7 TRIG MODES” on page 68.. “12.8 MIDI NOTE MAPPING FOR AUDIO TRACKS” on page 70. Also the AUDIO NOTE IN parameter’s setting affects the MIDI note mapping. “8.7.1 CONTROL” on page 39. C.1 STANDARD NOTE MAPPING In this mode, incoming MIDI notes trigger several functions. This MIDI note mapping is the default setting and is used when choosing the TRACKS trig mode (and set the AUDIO NOTE IN parameter to FOLLOW FW) and in the STANDARD MIDI MAP configuration. This mapping is also used then the AUDIO NOTE IN parameter is set to STANDARD. For more information, please see “12.7.1 TRACKS” on page 68. “12.8 MIDI NOTE MAPPING FOR AUDIO TRACKS” on page 70. “8.7.1 CONTROL” on page 39. The Octatrack MKII responds to MIDI notes as follows: NOTE FUNCTION NOTE E FUNCTION C1 (24) Audio Track 1 Play C4 (60) Combo rec C#1 (25) Audio Track 2 Play C#4 (61) INAB rec D1 (26) Audio Track 3 Play D4 (62) INCD rec D#1 (27) Audio Track 4 Play D#4 (63) SRC3 rec E1 (28) Audio Track 5 Play E4 (64) Pickup Play/Stop F1 (29) Audio Track 6 Play F4 (65) Multiply F#1 (30) Audio Track 7 Play F#4 (66) Mute active track G1 (31) Audio Track 8 Play G4 (67) Cue active track G#1 (32) G#4 (68) Active track up A1 (33) Sequencer Stop A4 (69) Active track down A#1 (34) Sequencer Start A#4 (70) Toggle Seq sync B1 (35) Sequencer Restart B4 (71) Toggle Seq sync + start C2 (36) Audio Track 1 Sample Trigger C5 (72) Track Sample Pitch -12 C#2 (37) Audio Track 2 Sample Trigger C#5 (73) Track Sample Pitch -11 D2 (38) Audio Track 3 Sample Trigger D5 (74) Track Sample Pitch -10 D#2 (39) Audio Track 4 Sample Trigger D#5 (75) Track Sample Pitch -9 E2 (40) Audio Track 5 Sample Trigger E5 (76) Track Sample Pitch -8 F2 (41) Audio Track 6 Sample Trigger F5 (77) Track Sample Pitch -7 F#2(42) Audio Track 7 Sample Trigger F#5 (78) Track Sample Pitch -6 G2 (43) Audio Track 8 Sample Trigger G5 (79) Track Sample Pitch -5 G#2 (44) G#5 (80) Track Sample Pitch -4 A2 (45) A5 (81) Track Sample Pitch -3 A#2 (46) A#5 (82) Track Sample Pitch -2 B2 (47) B5 (83) Track Sample Pitch -1 C3 (48) MIDI Track 1 Play C6 (84) Track Sample Pitch 0 C#3 (49) MIDI Track 2 Play C#6 (85) Track Sample Pitch +1 D3 (50) MIDI Track 3 Play D6 (86) Track Sample Pitch +2 D#3 (51) MIDI Track 4 Play D#6 (87) Track Sample Pitch +3 E3 (52) MIDI Track 5 Play E6 (88) Track Sample Pitch +4

APPENDIX C: MIDI CONTROL REFERENCE 138 F3 (53) MIDI Track 6 Play F6 (89) Track Sample Pitch +5 F#3 (54) MIDI Track 7 Play F#6 (90) Track Sample Pitch +6 G3 (55) MIDI Track 8 Play G6 (91) Track Sample Pitch +7 G#3 (56) G#6 (92) Track Sample Pitch +8 A3 (57) A6 (93) Track Sample Pitch +9 A#3 (58) A#6 (94) Track Sample Pitch +10 B3 (59) B6 (95) Track Sample Pitch +11 C7 (96) Track Sample Pitch +12 • Chromatic trig keys sent to the AUTO channel or the MIDI channel of the active track can, when in LIVE RECORDING mode or holding a note trig, be used to enter note trigs with locked PTCH parameters. • CC messages sent to the auto channel or the MIDI channel of the active track can, when in LIVE RECORDING mode or when entering parameter and scene locks, be recorded. • Active track up and down only works on the auto channel. C.2 CHROMATIC NOTE MAPPING In this mode, incoming MIDI notes trigger the track’s sample chromatically. This MIDI note mapping is used when choosing the CHROMATIC TRIG mode (and set the AUDIO NOTE IN parameter to FOLLOW FW) and in the CHROMATIC MIDI MAP configuration. For more information, please see “12.7.2 CHROMATIC” on page 68. “12.8 MIDI NOTE MAPPING FOR AUDIO TRACKS” on page 70. “8.7.1 CONTROL” on page 39. The Octatrack MKII responds to MIDI Notes as follows: NOTE FUNCTION C5 (72) – C7 (96) Track Sample Pitch -12 – Track Sample Pitch +12 The 2-octave range is only valid for audio tracks. On MIDI tracks, notes can be played and recorded over the full 128 MIDI note range. C.3 SLOTS NOTE MAPPING In this mode, incoming MIDI notes trigger the samples in the project’s Flex and Static sample slot lists. For more information, please see “8.3 LOADING SAMPLES TO THE SAMPLE SLOTS” on page 29. This MIDI note mapping is used when choosing the SLOT TRIG mode (and set the AUDIO NOTE IN parameter to FOLLOW FW) and in the SLOT MIDI MAP configuration. For more information, please see “12.7.3 SLOTS” on page 69. “12.8 MIDI NOTE MAPPING FOR AUDIO TRACKS” on page 70. “8.7.1 CONTROL” on page 39. The Octatrack MKII responds to MIDI Notes as follows: NOTE FUNCTION C-1 (0) – G9 (127) Slot 1 – Slot 128 The sample in the first slot is played on C-1, the next on C#-1 and so on, expanding upward depending on how many slots are filled with samples. C.4 SLICES NOTE MAPPING In this mode, incoming MIDI notes triggers the tracks sample slices individually. This MIDI note mapping is used when choosing the SLICES TRIG mode (and set the AUDIO NOTE IN parameter to FOLLOW FW) and in the SLICES MIDI MAP configuration. For more information, please see “12.7.4 SLICES” on page 69. “12.8 MIDI NOTE MAPPING FOR AUDIO TRACKS” on page 70. “8.7.1 CONTROL” on page 39.

APPENDIX C: MIDI CONTROL REFERENCE 139 The Octatrack MKII responds to MIDI Notes as follows: NOTE FUNCTION C0 (12) – D#5 (75) Slice 1 – Slice 64 The first slice is played on C0, the next on C#0 and so on, expanding upward depending on how many slices the sample has. The tracks sample must contain slices for this mode to work as intended. For more information, please see “13.2.2 SLICE” on page 81. C.5 QUICK MUTE NOTE MAPPING In this mode, incoming MIDI notes toggles mute on and off for the audio and MIDI tracks. This MIDI note mapping is used when choosing the QUICK MUTE TRIG mode (and set the AUDIO NOTE IN parameter to FOLLOW FW) and in the QUICK MUTE MIDI MAP configuration. For more information, please see “12.7.5 QUICK MUTE” on page 70. “12.8 MIDI NOTE MAPPING FOR AUDIO TRACKS” on page 70. “8.7.1 CONTROL” on page 39. The Octatrack MKII responds to MIDI Notes as follows: NOTE FUNCTION C0 (12) – G0 (19) Mutes/unmutes audio track 1 – 8 G#0 (20) – D#1 (27) Mutes/unmutes MIDI track 1 – 8 C.6 DELAY CONTROL NOTE MAPPING In this mode, incoming MIDI notes controls the behavior of the track’s delay settings. (For tracks that uses the Echo Freeze Delay effect.) This MIDI note mapping is used when choosing the DELAY CONTROL TRIG mode (and set the AUDIO NOTE IN parameter to FOLLOW FW) and in the DELAY CONTROL MIDI MAP configuration. For more information, please see “12.7.6 DELAY CONTROL” on page 70. “12.8 MIDI NOTE MAPPING FOR AUDIO TRACKS” on page 70. “8.7.1 CONTROL” on page 39. The Octatrack MKII responds to MIDI Notes as follows: NOTE FUNCTION C0 (12) – G0 (19) Selects delay TIME values of 1, 2, 4, 8, 16, 32 ,64 and 128 G#0 (20) – D#1 (27) Selects the track to control (1 – 8) NOTE FUNCTION C2 (36) – G2 (43) Selects delay TIME values of 1, 3, 6, 12, 24, 48, 96 and 128 G#2 (44) – D#3 (51) Selects the track to control (1 – 8) The track select and delay time select notes are used in conjunction with each other to change the setting. The note that selects the track must be held (note on) while sending the second note that selects the TIME value. C.7 CTRL CHANGE MAPPINGS HEX DEC CTRL PARAMETER TRN REC $07 07 Track level X $08 08 Track balance X $10 16 Playback param #1 X X

APPENDIX C: MIDI CONTROL REFERENCE 140 $11 17 Playback param #2 X X $12 18 Playback param #3 X X $13 19 Playback param #4 X X $14 20 Playback param #5 X X $15 21 Playback param #6 X X $16 22 Amp param #1 (Attack) X X $17 23 Amp param #2 (Hold) X X $18 24 Amp param #3 (Release) X X $19 25 Amp param #4 (Volume) X X $1A 26 Amp param #5 (Balance) X X $1B 27 Amp param #6 (N/A) X X $1C 28 LFO param #1 (Speed 1) X X $1D 29 LFO param #2 (Speed 2) X X $1E 30 LFO param #3 (Speed 3) X X $1F 31 LFO param #4 (Depth 1) X X $20 32 LFO param #5 (Depth 2) X X $21 33 LFO param #6 (Depth 3) X X $22 34 FX1 param #1 X X $23 35 FX1 param #2 X X $24 36 FX1 param #3 X X $25 37 FX1 param #4 X X $26 38 FX1 param #5 X X $27 39 FX1 param #6 X X $28 40 FX2 param #1 X X $29 41 FX2 param #2 X X $2A 42 FX2 param #3 X X $2B 43 FX2 param #4 X X $2C 44 FX2 param #5 X X $2D 45 FX2 param #6 X X $2E 46 Track level X X $2F 47 Cue level X X HEX DEC CTRL PARAMETER TRN REC $30 48 Crossfader X X $31 49 Track Mute [0]=Unmuted, [1-127]=Muted X X $32 50 Track Solo [0]=No solo, [1-127]=Soloed X X $33 51 Track Cue [0]=Not Cued, [1-127]=Cued X X $34 52 Track Arm [0]=Trk disarm, [1-127]=Arm X X $35 53 Recrdr Arm [0]=Rec disarm, [1-127]=Arm X X $36 54 All Arm [0]=All disarm, [1-127]=Arm X X $37 55 Scene A Select X X $38 56 Scene B Select X X $39 57 Pickup SRC AB level X $3A 58 Pickup SRC CD level X $3B 59 Note on [0]=C-1, 127=G9) X $3C 60 Note off [0] =C-1, 127=G9) X $3D 61 Send request, 0 = all audio CC X

APPENDIX C: MIDI CONTROL REFERENCE 141 $70 112 MIDI Trk 1 Mute [0]=Unmute, [1-127]=Mute X X $71 113 MIDI Trk 2 Mute [0]=Unmute, [1-127]=Mute X X $72 114 MIDI Trk 3 Mute [0]=Unmute, [1-127]=Mute X X $73 115 MIDI Trk 4 Mute [0]=Unmute, [1-127]=Mute X X $74 116 MIDI Trk 5 Mute [0]=Unmute, [1-127]=Mute X X $75 117 MIDI Trk 6 Mute [0]=Unmute, [1-127]=Mute X X $76 118 MIDI Trk 7 Mute [0]=Unmute, [1-127]=Mute X X $77 119 MIDI Trk 8 Mute [0]=Unmute, [1-127]=Mute X X $78 120 MIDI Trk 1 Solo [0]=Unsolo, [1-127]=Solo X X $79 121 MIDI Trk 2 Solo [0]=Unsolo, [1-127]=Solo X X $7A 122 MIDI Trk 3 Solo [0]=Unsolo, [1-127]=Solo X X $7B 123 MIDI Trk 4 Solo [0]=Unsolo, [1-127]=Solo X X $7C 124 MIDI Trk 5 Solo [0]=Unsolo, [1-127]=Solo X X $7D 125 MIDI Trk 6 Solo [0]=Unsolo, [1-127]=Solo X X $7E 126 MIDI Trk 7 Solo [0]=Unsolo, [1-127]=Solo X X $7F 127 MIDI Trk 8 Solo [0]=Unsolo, [1-127]=Solo X X C.8 MIDI MODE CTRL CHANGE MAPPINGS While in MIDI mode and CC DIRECT CONNECT is deactivated, the auto channel responds to the following CC messages. HEX DEC CTRL PARAMETER TRN REC $10 16 Playback param #1 (Note) X $11 17 Playback param #2 (Velocity) X $12 18 Playback param #3 (Length) X $13 19 Playback param #4 (Note 2) X $14 20 Playback param #5 (Note 3) X $15 21 Playback param #6 (Note 4) X $16 22 Amp param #1 (Transpose) X $17 23 Amp param #2 (Legato) X $18 24 Amp param #3 (Mode) X HEX DEC CTRL PARAMETER TRN REC $19 25 Amp param #4 (Speed) X $1A 26 Amp param #5 (Octave Range) X $1B 27 Amp param #6 (Arp Note Length) X $1C 28 MIDI LFO param #1 (Speed 1) X $1D 29 MIDI LFO param #2 (Speed 2) X $1E 30 MIDI LFO param #3 (Speed 3) X $1F 31 MIDI LFO param #4 (Depth 1) X $20 32 MIDI LFO param #5 (Depth 2) X $21 33 MIDI LFO param #6 (Depth 3) X $22 34 Pitch bend X $23 35 Aftertouch X $24 36 CC #1 param X $25 37 CC #2 param X $26 38 CC #3 param X

APPENDIX C: MIDI CONTROL REFERENCE 142 $27 39 CC #4 param X $28 40 CC #5 param X $29 41 CC #6 param X $2A 42 CC #7 param X $2B 43 CC #8 param X $2C 44 CC #9 param X $2D 45 CC #10 param X $31 49 MIDI Track Mute [0]=Unmuted, [1-127]=Muted X $32 50 MIDI Track Solo [0]=No solo, [1-127]=Soloed X $36 54 All Arm [0]=All disarm, [1-127]=Arm X $37 55 Scene A Select X $38 56 Scene B Select X $70 112 MIDI Trk 1 Mute [0]=Unmute, [1-127]=Mute X $71 113 MIDI Trk 2 Mute [0]=Unmute, [1-127]=Mute X $72 114 MIDI Trk 3 Mute [0]=Unmute, [1-127]=Mute X $73 115 MIDI Trk 4 Mute [0]=Unmute, [1-127]=Mute X $74 116 MIDI Trk 5 Mute [0]=Unmute, [1-127]=Mute X $75 117 MIDI Trk 6 Mute [0]=Unmute, [1-127]=Mute X $76 118 MIDI Trk 7 Mute [0]=Unmute, [1-127]=Mute X $77 119 MIDI Trk 8 Mute [0]=Unmute, [1-127]=Mute X $78 120 MIDI Trk 1 Solo [0]=Unsolo, [1-127]=Solo X $79 121 MIDI Trk 2 Solo [0]=Unsolo, [1-127]=Solo X $7A 122 MIDI Trk 3 Solo [0]=Unsolo, [1-127]=Solo X $7B 123 MIDI Trk 4 Solo [0]=Unsolo, [1-127]=Solo X $7C 124 MIDI Trk 5 Solo [0]=Unsolo, [1-127]=Solo X $7D 125 MIDI Trk 6 Solo [0]=Unsolo, [1-127]=Solo X $7E 126 MIDI Trk 7 Solo [0]=Unsolo, [1-127]=Solo X $7F 127 MIDI Trk 8 Solo [0]=Unsolo, [1-127]=Solo X

INDEX 143 INDEX A ACCESSORIES 14 Carrying bag and protective lid 14 Rack mount kit 14 AMP Amp main 58 Amp setup 59 ARPEGGIATOR 92 Setup 93 ARRANGER 87 AUDIO EDITOR 80 Accessing 80 Attributes 84 Edit 82 File 86 Slice 81 Trim 80 AUDIO FILE COMPATIBILITY 27 AUDIO POOL 27 Adding content 27 File compatibility 27 AUTO CHANNEL 41 B BANKS 52 C CARE INSTRUCTIONS 15 CHROMATIC MODE 68 CLEAR Pattern 72 Scene 54 Track 72 Track page 72 Track parameter page 73 Trig lock 73 COMPACT FLASH CARD 14 Card tools 34 Format card 35 CONDITIONAL LOCKS 77, 78 CONNECTING THE UNIT 15 COPY Pattern 71 Scene 54 Track page 72 Track parameter page 72 Trig 73 COPY, CLEAR AND PASTE 20 CREDITS AND CONTACT INFORMATION 116 CUE LEVEL 57 CUE OUTPUTS 63 D DELAY COMPENSATE 36 E EARLY STARTUP MENU 112 EFFECTS Effects reference 122 Track effects 62 ELECTRICAL SPECIFICATIONS 116 EMPTY RESET 112 F FILE BROWSER 30 FILL MODE 78 FLEX AND STATIC MACHINES 55 G GRID RECORDING MODE 65 L LEVELS Cue level 57 Track main level 57 LFO LFO designer 61 LFO main 59 LFO setup 60 LIVE RECORDING MODE 65 LOADING SAMPLES 24, 29 M MACHINES 117 Assigning to tracks 55 Flex and Static 55 Machine reference 117 Pickup machine sampling 49 MAIN OUTPUTS 63 MASTER TRACK 35 METRONOME 39 MICRO TIMING 76, 77 MIDI Auto channel 41 Clock receive 40 Clock send 40 Settings 39 Transport receive 40 Transport send 40 Trig channel 41 MIDI CC LEARN 94 MIDI CONTROL REFERENCE 137 MIDI SEQUENCER 90 Accessing 90 MIDI mode live recording/parameter locking 91 MIDI routing 90 MIDI track parameter pages 91 MIDI TRACK PARAMETERS 91 Arpeggiator main 92

INDEX 144 Arpeggiator setup 93 CTRL 1 main 94 CTRL 1 setup 94 CTRL 2 main 95 CTRL 2 setup 95 MIDI LFO main 93 MIDI LFO setup 94 Note main 91 Note setup 92 MIXER 42 MUTE Scene 54 MUTE TRACKS Direct mute 62 Mixer mute 42 Trig mode quick mute 70 N NAMING MENU 20 NOISE GATE 36 O OCTATRACK STRUCTURE 16 OS UPDATE Between Octatracks 112 Via Compact Flash 33 Via MIDI 112 OUTPUT ROUTING 35 P PANEL LAYOUT AND CONNECTORS 12 Front panel 12 Rear connectors 14 PARAMETER EDITING 20 Parameter value skip 20 Quick parameter editing 20 PARAMETER LOCKS 67 MIDI 91 PARTS 52 Edit parts menu 53 Quick select 52 Reload 53 PATTERNS 64 Basic pattern operations 64 Chaining 64 Grid recording mode 65 Live recording mode 65 Micro timing 76, 77 Parameter locks 67 Pattern control 64 Pattern settings menu 75 Recording modes 65 Sample locks 67 Scale setup 78 Selecting 64 Sequencer Copy, Paste and Clear operations 71 Track trig edit menu 73 Trig led indicators 64 Trig modes 68 Trig types 66 PERSONALIZE MENU 33 PHYSICAL SPECIFICATIONS 116 PICKUP MACHINES 44 Sampling 49 PROJECT MENU 31 Control 35 System 32 PROJECTS 28 Change project 31 Loading and creating 28 Mixer 42 Project card sync 32 RAM memory 28 Reload 32 Tempo 43 The Project menu 31 Track recorders 44 Q QUICK SCROLLING 20 QUICK START 22 R RACK MOUNT KIT 14 RAM MEMORY 28 RECORDING MODES 65 Grid recording mode 65 Live recording mode 65 ROUTING Main and Cue outputs 63 Routing examples 96 S SAMPLE LOCKS 67 SAMPLING Manual sampling 47 Pickup machine sampling 49 Playing back recorder samples 48 Recorder trig sampling 48 SCALE SETUP 78 Master scale 79 Normal 78 Per track 79 SCENES 53 Assigning and adjusting 53 Clear 54 Copy 54 Mute 54 Volume locking 54 SCREEN SAVER 19 SEQUENCER Conditional locks 78 SET DATE/TIME 33 SETS 26

INDEX 145 Audio pool 27 Change set 32 Creating and mounting 26 SETUP EXAMPLES 96 DJ mixer and sampler 100 MIDI control center 102 Performance hub 96 Processing live instruments 99 With external effects 98 SLICES 69 SLIDE TRIGS 67 SOLO TRACKS 43 SRC SRC main 57 SRC setup 57 SUGGESTED APPLICATIONS 11 SWING TRIGS 67 SYSTEM 32 Date/Time 33 OS upgrade 33 Personalize 33 USB disk mode 32 T TECHNICAL INFORMATION 116 TEMPO 43 Nudge 43 Tap tempo 43 TEST MODE 112 TRACK MAIN LEVEL 57 TRACK PARAMETER PAGES 57 Amp main 58 Amp setup 59 Cue level 57 FX1 and FX2 62 LFO designer 61 LFO main 59 LFO setup 60 Main level 57 SRC main 57 SRC setup 57 TRACK RECORDERS 44 Sampling methods 47 TRACKS 55 Assigning Flex/Static samples to machines 56 Assigning machines 55 Direct track muting 62 Main and Cue outputs routing 63 Mixer mute 42 Parameter pages 57 Solo 43 TRACK TRIG EDIT MENU 73 Recorder trigs 74 Slide 74 Swing 74 Trigs 73 TRIG CONDITIONS 77 TRIG LED INDICATIONS 64 TRIG MODES 68 Chromatic 68 Quick mute 70 Slices 69 Slots 69 Track 68 TRIG PREVIEW 65 TRIGS 66 Lock trigs 66 One shot trigs 66 Recorder trigs 67 Sample trigs 66 Slide trigs 67 Swing trigs 67 Trigless trigs 66 TUTORIALS 104 Loop remixing 107 Octatrack as a DJ deck 110 Octatrack as an effects processor 111 Preparing loops and samples 109 Track recorder sampler 104 U UNDO Parameter lock clear 73 Pattern clear 72 Pattern copy 71 Rec trigs clear 74 Slide trig clear 74 Swing trig clear 74 Track clear 72 Track copy 72 Track page clear 72 Track parameter page clear 73 Trig lock clear 73 USB DISK MODE 32 USER INTERFACE 19

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